learn. Redshift for Cinema 4D : V02

Welcome back! In this video, take a look at a few of the subtle changes in Redshift since learn. Redshift : V01

Start by setting-up the scene which you will be using for your next few lessons, including how to use Redshift’s Sun and Sky Rig.

Here we take a look at data types within our shader networks and dig deeper into some of the colour nodes that we can use to create shaders.

In part 2 of this video we look at some of the nodes we can use to layer up our colours inside the material network.

We explore more of our shaders, we remap fresnels to create colour variation in our facing ratio, animating noise, as well as how to use ambient occlusion and curvature for controlling edge effects.

Here we look at multi layered materials using the material blender, including how to stack up shaders with alternative uv sets.

We look at how the round corner node works and how we can combine it with other normal maps within our shaders.

Here we discuss trace depth inside our render settings and how this affects our reflections and refractions. We also look at opacity and why the sprite node is a better option in many cases for controlling our opacity.

We explore some examples with the ray switch node to control how your shaders are seen depending on ray type, we also see how we can use the front/back option to create double sided materials.

We take an introductory look at how we can use custom user data in our scenes to vary parameters of our shaders. We also discuss how we can use mograph colour, random colours, the shader selector and how user data can be made to work with render instances.

Setting up displacement, we look at how this works within our shader aswell as the controls to fine tune this and the tesselation of our objects within the redshift object tag.

An addon video discussing some techniques we can use for reducing any fireflies or bright pixels within our renders. Specifically from single SSS or reflection.

Add on video discussing our scene input colour profile and how setting this will effect our colour pickers inside of redshift.

Here we look at the main scene we’ll be using for our multipass section.

A practical example of using some of the shader nodes and techniques we’ve looked at so far to create the main shader for our robot head. We setup a multilayered material consisting of a base, decal layer, dust collecting in the recesses and also an overall edge scratch setup.

We set up the last of our materials for our scene here, adding in shaders for gold, the transparent mouth plate, some rubber parts using multiSSS and also, set up both a logo and a warning label, with alternative UVs.

An introduction of how AOVs (also known as multipass workflow) work inside of redshift. We look at the aov manger, the differences between direct and multipass output and how to view our aovs within our viewer.

So now we apply this to our scene, we set up our main scene AOVs for our robots shader. We look at puzzle matte and it’s various options for output and also various times we may wish to use reflect/refract IDs.

We look at how we can set up a depth pass for our scene.

We look at some of the other supporting passes we can output in Redshift, we setup our samples and our scene for final render and we look at how we can recombine all of our main passes together in both black magic fusion and after effects, to recreate the beauty pass.

This video is about raw lighting passes and comparing them to their standard AOV counterparts. We also discuss at why we may want to disable ‘apply colour processing’ to our AOV passes.

Custom AOVs give us the ability to output just about any part of our rendering into a separate pass; here we learn how we set these up. We look at overrides, outputting custom passes from parts of our shader graph and also combining all of these together as RGB mattes.

An intro to cryptomatte and the 4 different ways of outputting a cryptomatte pass. We look at how we can isolate our mattes within both fusion and after effects.

We look at how we can define light groups for our scene lighting, this give us further control so that we can further split our passes into their respective contribution from each light.

For our last video we go back to the depth and look at setting up a non antialiased depth pass that can work with frischluft’s depth of field plugin, in black magic fusion.